IB+11+Assignments

PREPARATION FOR FINAL EXAMINATIONS JUNE 2011
The following Guidelines are also available as a document on the English A1 Resources page.

** Advice for Writing a Commentary on ‘Unseen’ Texts **
 * Exam Guidelines Short 06/11**


 * __Elements to look for__** when you are annotating the text and which you then include in your commentary:


 * **Subject(s**) – what the text or poem is about in the most obvious sense **and** what you understand to be the Theme(s), Idea(s), Message(s), Sub-Text of the extract or poem.
 * Do you have a sense of the author’s aim or purpose?


 * **Setting** – can you identify a place or time? This doesn’t have to be a specific century or the name of a town; it could be ‘early evening’, a medieval period, a tropical island…


 * **Speaker** – whose ‘voice’, if anyone’s, do you hear?
 * **Tone** – how are the words said? Does the tone change? Is it admiring, angry, ironic…?)
 * **Mood** – what mood or atmosphere is created for the reader? Nostalgic? Oppressive?


 * **Structure** – How is the extract/poem structured? Are there divisions which correspond to or enhance meaning? How long are the lines/sentences/ stanzas…? In poetry, is there enjambment or caesura? What effects do these devices produce? What do you notice about the first and last lines?


 * **Rhythm and pace** – these can be identified in prose, as well as in poetry


 * **Language**:
 * What is the basic style of writing? Plain? Sophisticated? Conversational...? What effect does this have?
 * Diction: which particular words strike you?
 * Which senses do the words appeal to? Hearing? Touch...?
 * Imagery – which ‘word pictures’ do you notice? Look for:
 * Similes, metaphors, symbols...
 * Sound effects – alliteration, assonance...
 * Rhyme – or no rhyme – in poetry


 * Exam techniques**


 * Planning**


 * 1) Read the 2 texts through, check the Guiding Questions (Standard students only), and choose the text you think you understand and can analyse best
 * 2) If you wish, write a quick check-list from memory of the “Elements to Look For”
 * 3) Re-read the text, highlighting significant phrases and words and writing BRIEF annotations in the margins. (Use a colour code, if it helps you.)
 * 4) Plan your commentary – but probably not in detail (list or diagram, as you wish.) Allow 20 - 30 minutes for steps 1-4


 * Writing the Commentary**

There is no one way to write a commentary in English. However, you must aim for a structured essay that is clear and persuasive.


 * Introduction**


 * State clearly what your main focus will be e.g. your understanding of the main theme(s), the author’s purpose, the effect of reading this text etc. This is a sort of ‘thesis statement’.
 * You may BRIEFLY state what the text is about, if it seems helpful in addition to the above (2-3 lines max.) Often this will be incorporated into the above.
 * Do not quote in the Introduction unless you wish to take a specific quotation as a starting point/key focus.


 * Body**


 * Remember paragraphs
 * Work through the text in order, unless you have a valid reason for doing otherwise. You might also want a separate paragraph on rhyme scheme, style, structure, a recurring image, a lexical field...
 * Develop your essay by introducing each point, incorporating a quotation (as small as possible), then developing your comment
 * You will need to paraphrase a little. When you do, do so accurately and concisely.
 * An effective paragraph will often have an interesting topic sentence that guides the reader and a sentence that clinches the point at the end


 * Conclusion**


 * Briefly bring together your main point(s), with some new words if possible
 * You might mention your personal response to the poem overall
 * You can indicate alternative interpretations/avenues to explore, but don’t force this. Only mention it if it occurs naturally to you.
 * Be alert to what is powerful in the text and show appreciation of this. Remember that the texts are usually chosen because there is a consensus in the academic community, and probably beyond, that this is fine writing, worth analysing.


 * Hints**:


 * Mention the name of the author/poet as you write. It will help you to make literary points and improve the tone of your writing
 * Discuss literary devices (e.g. alliteration, narrative point of view) but never ‘name-drop’ to impress. If you haven’t got a valid comment to make on the effect of the device, better not to mention it!
 * Use as rich and varied a vocabulary as you can, in a formal register
 * Avoid saying ‘I’ or ‘me’ e.g. The phrase This intriguing image suggests an alien presence… expresses your personal opinion!
 * Be modest! Don’t ‘look down’ on the writer, suggesting s/he did ‘quite a good job’.
 * Don’t mention the word ‘boring’ e.g. ‘these big words make it less boring’... (Ouch!)
 * If you don’t know the gender of the writer, avoid using ‘he’ or ‘she’
 * Spell the writer’s name correctly
 * Proof-read your work for spelling and grammar mistakes, especially Run-on sentences.

**SCHEDULE FOR ORAL PRESENTATIONS - Part 4 IB Internal Assessment - June 2011**
10th || Harley, Harry, Gemma, Josh, Marta ||
 * **Time** || **Name** ||
 * Friday 3rd || Harriet, Saskia, Annemijn, Pietro, (Maddie) ||
 * Monday 6th || Youri, Georgina, (Ingrid), (Matt), Maike ||
 * Wednesday 8th || Kathryn ||
 * Thursday 9th || Victor, Hanna, Sylvia, Fred, (Ben) ||
 * Friday
 * Friday 10th lunch || (Beatrice) Ben, Ingrid ||


 * Assignment for Monday 30th May**

**IB Oral Presentations**

Continue your preparation. Those students who have not yet proposed a topic need to hurry up! Post your proposal or email Ms. Short first if you prefer. Do check the proposals that are already posted and avoid doubling up. On Monday, the schedule for the Orals must be completed and we will put the names of students remaining 'in a hat'.


 * Preparing your Oral**


 * There are no short-cuts. You must **re-read the tex**t and take your own notes. Of course, you may use critical sources, but do remember to put these in your notes.


 * Remember that you must produce **NOTES** to guide your presentation, not a written speech! These notes must be submitted to **Turnitin** before you present.


 * Plan to speak for 7-10 minutes before questions/discussion. You need to **practise and time yourself**. Don't improvise!


 * Remember to refer to the handout for **guidance and assessment** criteria. You can also see the English A1 Guide on the wiki Resources page (p.38-40)
 * **Students doing a role-play** or similar: try and write your **rationale** before you start. You need a clear idea of what you are aiming to show by your creative writing


 * Assignment for Thursday 26th May**
 * IB Oral Presentations**
 * You need to decide on a proposal for an Oral Presentation topic. Choose the book and write one or two ideas for a Presentation. Post this on the wikispace on the __Assignments Discussion forum from Wednesday after 7.0pm/19.00h__.** If students have the same idea, the first to propose it will have precedence. You can come and see Ms. Short during the day on Wednesday if you need advice.

**Remember the World Lit Final Draft deadline is Sunday 22nd May at 23.59 on turnitin. Don't miss it!** ** (Do use the guidelines posted on the Resources page for technical details on citations, writing titles etc. Also refer to the Assessment Criteria in the IB Guide on the same wiki page.) **
 * Assignment for Monday 23rd M**ay

**On Monday we will continue to work on __Primo Levi__, so be sure to have your books in class. Bring the __character portraits__ from last week with you - on paper and eventually in an electronic version, too. Everyone will benefit if these are posted on the wiki discussion forum on this Assignments page, too.**

**We will also be starting to prepare the __Individual Oral Presentations__ - the next step in your IB coursework. Remember that you have to choose which book from Part 4 you want to present on, choosing from: //The Kite Runner, Sula//, //If This is a Man// (and also //Heart of Darkness// for High students). Spend a half-hour this weekend, reading through the handout distributed in class, highlight the key parts and begin to think of the type of oral you would most enjoy doing. On Monday we will discuss examples.**


 * Assignments for week of 16th May**


 * 1) **The World Lit Final Draft deadline has been changed to Sunday 22nd May** . This is to allow you to continue working until the end of this week and to consult Ms. Short during some of the class time on Thursday and Friday.
 * 2) **//Chronicle of a Death Foretold// end-of -unit assessment Thursday period 1 for ALL students, Standard and High level**: this will take the form of a short essay/commentary on an extract. See advice and the assessment rubric in English A1 Resources.
 * 3) //**If This is a Man**//: students who were absent should be sure to catch up on the assignments and the lessons missed. Even if the homework was class prep and not given in and graded, it is clearly in your own interest to do the work you missed. You can also always arrange to see Ms. Short and review this work. The **assignment for this week**, given in class on Friday, was to work on **Levi's characterisation techniques**, as modelled in the analysis of 'Colonel' Rovi, by selecting a **character of your choice** and writing notes on the effectiveness of Levi's techniques of characterisation. This will help you prepare for the **formal Oral Presentations** (obligatory coursework) that will follow submission of the World Lit paper and precede the exams!


 * Assignment for Monday 9th May**
 * Primo Levi – //If This is a Man//**

Re-read from where we finished in class to the end of ‘At the Bottom’.

Write down: · What most horrifies you · What most surprises you · What most disgusts or repels you · What you cannot understand · What makes you feel pity, or anger

Next, think how Levi’s writing works on your 5 senses. Find 5 images/phrases/scenes that call on your senses:

· A visual image · A tactile image · An auditory image · A labial image · An olfactory image Jot down the image using quotation or paraphrase. Add a brief comment and/or be ready to comment in class on why this writing struck you

PS Use a dictionary if you're not sure of all these words!

2nd PS Another word banned from World Lit: "suppression". Use repression or oppression or 'discriminated against'... Try the Merriam Webster online dictionary, which provides examples of use.


 * Assignments for week of 2nd May**
 * The annotation exercise on Marquez will be done on Thursday, instead of Monday, so that we can review beforehand the previous work on topics and quotations from //Chronicle of a Death Foretold//
 * Consult English A1 Resources for class feedback on the strengths and weaknesses of the //Sula//presentations
 * Continue preparation on Levi's //If This is a Man// and //The Truce//
 * Try and anticipate some of the modifications that need to be made to your World Lit. 1st drafts (e.g. respecting the word limit, formatting paragraphs and quotations correctly) before you meet with Ms. Short this coming week.


 * Assignments for week of 26th April**


 * 1) All students to finish reading If //This is a Man// (including the part //The Truce//)
 * 2) All students to do the attached worksheet on //Chronicle of a Death Foretold [|Find quotes task.doc]//
 * 3) All students to produce 1st draft of World Lit essay (submission to Turnitin Friday)
 * 4) High Students to do worksheet on //Heart of Darkness// (already distributed)


 * Assignments for week of 4th April**


 * All students to be ready for group **'hotseat**' activity **Thursday** aiming to establish responsibilities for the death of Santiago Nasar in **//Chronicle of a Death Foretold//**. Remember to have considered the cultural and characterial forces that influence the townspeople's behaviour and attitudes. These should be part of the discussion and enrich the reasoning and arguments. (Please ensure your **computers**are charged up for recording!)
 * **High Students** must have read **//Heart of Darkness// by Thursday**and be ready for an exercise on it.
 * **World Lit**. Anyone who has not given me a paper copy of their Detailed Outline must do so immediately.


 * Update week of 28th March**
 * No additional work on //Chronicle//. Just complete the questions if you haven't already done so.
 * Focus on World Lit for Thursday (Turnitin). Note that I have posted on Eng A1 resources basic guidelines for how to cite drama, especially play titles and act/scene/page references. Use at least the first 4 rules for the Detailed Outline!


 * Assignments for week of 28th March**
 * Complete the **questions** on the opening of //Chronicle of a Death Foretold// for **Monday**
 * **World Lit deadline Thursday 31st March on Turnitin**. This is for the Detailed Outline of your essay. It should be a paragraph-by-paragraph plan, with Topic Sentences and bullet points. Main quotations should be indicated by 'mini-extracts' of key words. Act, scene and page references must be included.


 * Assignments for week of 21st March**


 * **Continue your reading** of //Chronicle of a Death Foretold.// We will be starting this as soon as the //Sula// presentations are over. You must then read //If This is a Man (//and //Heart of Darkness//for High Students).
 * Continue work on the next phase of the **World Li**t. Everyone who submitted their General Outline on time received it back in advance with comments last week. Some students have received it this week. A few are outstanding. Everyone should be moving forward for the next deadline on 31st March.
 * Turnitin: Those of you who missed the last electronic deadline with the General Outline must still submit it to turnitin so that the School has a trace of work in progress for the IB coursework. The deadline is now set for Friday 25th March.


 * Assignments for week of 14th March**


 * Study **Shakespeare's Sonnet xviii**as instructed in class. You are advised to try and understand it yourself BEFORE you seek help on the internet! There will be questions in class on Thursday.
 * Continue your **reading**: //Chronicle of a Death Foretold//, //If This is a Man//, (and //Heart of Darkness//for High Students.) Don't forget to consult the calendar!
 * You will be receiving your **World Lit** Preliminary Outline with comments this week. It's a good idea to work on the next step in the process immediately. Be sure to make an appointment to see me if you need help or if I have indicated this on your Outline.


 * Assignment for Thursday March 10th**

No new assignments. Your Sula presentations have either been given or should be ready.


 * Concentrate on the World Lit. Preliminary Outline for Friday, on turnitin by 16.00.**

If you are behind in your preparation, send me your quotations/comments/plans AS SOON AS POSSIBLE and always bring in a hard copy to school, just in case...

Look in Eng A1 Resources (from Tuesday) for advice and sample for a Preliminary Outline


 * Assignments for February break 18 Feb. - 3 March**


 * 1) Continue work on your **World Lit. 1**preparation. If you are up to date, you will have submitted your bank of quotations with comments on your chosen topic. Several of you have already received my feedback on this. Either way, you need to start working towards the General Outline (Thesis statement, Headings or Topic sentences for the main sections)
 * 2) //**Sula**//: complete your work for the //Sula//presentation so that one class will suffice to put the parts together and do the finishing touches.
 * 3) Remember that the next book you need to have read is Marquez' **//Chronicle of a Death Foretold//**


 * Assignments for week of 14-17th February**

Parallel work on //Sula// and World Literature. Your time management skills are going to be necessary!


 * Sula**

Monday first period will allow student work groups to put together their material for the Sula Oral Presentations which should start on Thursday.

Every student must have a copy of the group's work in case of someone's being absent.


 * World Lit 1**

You have all received the schedule*. Not everyone respected the first deadline for choosing a topic (and this was not necessarily the people in the Musical...!) **The next deadline is Thursday 17th February for submitting a bank of quotations with small comments**. This will serve as the raw material for your essay. It is essential that you do this on time **before** the February break. Remember that there is no school for you on Friday!

A copy of the World Lit 1 schedule is also posted in this wikispace under 'English 1 Resources'.

Assignments for week of 7-11 Feb


 * By Friday 11th you should have selected a subject for your **World Lit Essay**(having checked it with me first). You can indicate your preference(s) as soon as you think of them on the wikispace 'assignments discussion' forum.
 * By Monday you should have rewritten your 'new and improved' **Thesis Statement and Topic Sentences** from the Commentary on the //Blood Wedding//extract.
 * By Monday you should have decided on your partner(s) and selected a topic for the visual/oral **presentations on Sula**. Find below a list of topic suggestions. Note that the list is not exhaustive. You can add your own topic:
 * Love (Gemma and Marta)
 * Friendship
 * Parenthood (Harry, Maike, Youri)
 * Sex (Saskia & co.)
 * Violence
 * Reputation/appearances (Madeleine & Hanna)
 * Guilt
 * Poverty
 * Racism (Pietro, Harley, Joshua)
 * Good and Bad (Matt)
 * The supernatural (Bea, Sylvia, Annemijn)
 * Death (Ben & Victor)
 * Loyalty and betrayal


 * Motifs (choose one)
 * Fire
 * Scar
 * Birds


 * Assignments for week of 31 Jan - 4 Feb**
 * **Be ready for an introductory quiz on //Sula//, by Toni Morrison, on Thursday 3 Feb.**
 * **Use the handout on preparing for the World Lit assignment.** Continue what we started in class on Friday i.e**.** finish reading the //The Outsider//opening extract (179-181), read the student's notes and the opening paragraphs of the student's sample comparative essay. Annotate the essay using the notes on p.184 and any ideas of your own.
 * **MUN students** - welcome back! Please take note of the above. Focus on //Sula// only, if you don't have access to anyone else's notes or the handout. You will also need to catch up on the poem we studied - //Route 62//. Be sure to get copies of the handout and the poem from me in class.

The first is a 'light' week - thanks to MUN students! Even so, everyone should have posted the amended versions of their group response on the 'controversial 'statements' on Blood Wedding. For those of you at MUN, we continued these presentations in class and you should read and preferably comment on and/or print out the notes. Additionally, the 'High' students should have completed the posting of their notes on the Songs in Blood Wedding. Again, these are there for everyone's benefit. Remember that //Blood Wedding// is the last of the 3 texts we are studying for the part 1 World Lit section of the programme and you will be starting your coursework assignment on these texts immediately. You need to know them well and to be familiar with a variety of analyses and interpretations.
 * Assignments for week of 24 - 28 Jan and 31 Jan - 4 Feb**


 * For the first week in February, the starting** quiz on Sula will be on Thursday 3rd February **. Be sure to have read and/or re-read the novel.**


 * Assignments for week of 17th - 21st January**

As explained in class on Friday: for **Monday** read the two theatre reviews of Blood Wedding. Select 4 observations that you find interesting and write a paragraph to comment on each point.

You can approach this from any angle you like: characterization, theme, mood, tone, props, lighting, sound, language, Lorca's meaning etc.


 * High students Assignment for Thursday 20th January**. Please ensure you have completed and written up your notes on the Songs, started in class last week.


 * A REMINDER FOR EVERYBODY!**

You will have a graded commentary to write in class next **Friday 21st January**. You will be given a passage from //Blood Wedding//.



No new assignments for **Thursday 13th January**. Those who did not complete the note-taking assignment for Monday should do so now. Take the opportunity, too, to read through all the assessment comments on the //Hedda Gabler// essay that has been returned this week. Check with Ms. Short if you have any questions.


 * Assignment for Monday 10th January**


 * Take notes from David Johnston's Introduction to the Hodder and Stoughton edition of //Blood Wedding//**

Your notes should be concise (NO FULL SENTENCES!) Use the outline pattern I,A,1,a,b... that we've been practising in Research Skills. Try to use your own words and put copied words/key phrases in inverted commas.

Take notes on p 1-5 'Lorca and Andalusia' and then on p 17-23 'Back to Earth' (after Lorca's return from New York).
 * Standard students**

Suggested headings for your notes could be: __Lorca and Andalusia__
 * Origin of //Blood Wedding///The Nijar incident
 * Significance of Andalusia
 * The 'Amargo' / Life and Death

__Back to Earth__
 * La Barraca
 * Lorca's characters
 * Spender's "grammar of images"
 * Lorca's Death


 * High students**

You should take notes on the whole of the Introduction. Read attentively, but be discriminating in your note-taking. Don't write too much! On p 5-16, you could use the following headings and note 3 or 4 bullet points per heading:
 * The Duende
 * Definition
 * 'deep song'
 * "community voice"
 * The Dark Struggle/Lorca's homosexuality
 * The Nightmare of New York

HAPPY CHRISTMAS!

As explained in class today, Thursday 16th, in between the turkey and the parties, you have a reading and a writing assignment!
 * Assignment over the Christmas Vacation**
 * 1) Write a comparative essay on chosen elements from //Hedda Gable//r. You have all received a copy of the titles and guidelines. There is a copy of this below. Remember to submit to turnitin before 9.00 on the Monday we return to school.
 * 2) Read Lorca's //Blood Wedding//, our 3rd World Lit text.
 * 3) Ensure that you have bought all the remaining texts this year. You are advised to get ahead with the reading whenever you have the opportunity. Sometimes you need to create the opportunity!


 * Assignment for Monday 13th December**


 * 1) Those students who have not yet contributed to the wiki discussion forum on Brecht should do so without delay.
 * 2) London students: See the attached file HGablerBasics on Hedda's predicament and suicide. Spend 15 minutes on the questions.
 * 3) 'Regular' class! - Review the part of Act 1 we read in class (up to the 'piano conversation', p.16). Select 3 moments of tension that illustrate Hedda's distaste for her new middle class environment with George Tesman. Briefly identify the moment and write out a quotation that you feel communicates Hedda's state of mind at that moment.


 * Assignment for all students for Monday 6th December (__especially__ 'High' students going to London)**

'High' students post their findings on their respective topics on //Mother Courage//. These findings can include questions if you think it will help your classmates respond with comments. I suggest you post your work in small 'chunks' that are easier to respond to than a long piece of writing. You need to prompt responses from at least 3 classmates. 'Standard' students should make at least one response on the wiki discussion forum before Monday 6th. This also includes 'London' students, if possible**!**
 * Wiki discussion forum on aspects of //Mother Courage//**
 * Assignment for Monday 29th November**


 * Mother Courage**


 * Students who missed the 2nd period on Friday**

Read on to the end of scene 7. Summarise (a) what Mother Courage says about ‘feeling sorry for Generals and Emperors’ (Methuen p.51-52) (b) either: what the Chaplain says about war (Methuen p.52-53) or what the Chaplain next says about war (Methuen p. 53-54)


 * All students**

Choose a character. Select 4 quotations in order (Scenes 1-7) that illustrate the character as regards their relation to war. Fill out a grid concisely as follows:

‘**X’ Character and War**
 * Context || Quotation || Comment on significance (including references to language) ||


 * High students (for Thursday 2nd December)**

Remember to continue your note-taking on the topic you selected, keeping up to date with our play-reading in class (scene 7 at present). Prepare a couple of interesting selections to be shared with the whole class, both electronically and on paper.


 * All students**

Remember to keep up with your reading. You will need to have read Ibsen's Hedda Gabler by 3rd December and be ready for a basic comprehension quiz.


 * Assignment for Thursday 25th November**

Moral values in //Mother Courage//

Find three examples of characters expressing views which invert, turn upside down, what we might think are our ‘usual’ moral values or virtues – e.g. honesty, bravery, generosity etc.

Include //at least// one example which you consider would be **funny** when acted on stage.

Select from the part of the play we have read in class.

1. Briefly give the context 2. Quote and/or paraphrase the example (or key phrases in the example) 3. Comment on the values being inverted, what the purpose and effect would be. Try and identify Brecht’s intention.

4. Bring your work __on paper__ to class (plus an electronic copy, if possible)


 * Assignment for Monday 22nd November**


 * All students**


 * The Songs in //Mother Courage//**

Study the 3 following songs in Scenes 1, 2 and 3: 1. Mother Courage (p.2 Methuen) when she meets the recruiter and the Sergeant 2. Eilif (p.19 Methuen) The Song of the Girl and the Soldier 3. Yvette (p.23 Methuen) The Song of Fraternisation

Take notes as follows:

· Summarise each song · Select 2 quotations that strike you in each song and comment on why the language/images/meaning is effective · Find 2 or 3 different reasons for Brecht including the songs


 * High Students**

For class next Thursday 25th, continue structured note-taking on the aspect you chose in class on Thursday 18th. Continue until the arrival of the Catholic forces in scene 3 (Methuen p. 27)


 * Assignment for Thursday 18th November**

//**Mother Courage**// As indicated in class:
 * 1) In note form, answer the question: **"How and why is Scene 1 an effective opening for the play ?"**Consider the techniques Brecht uses to arouse interest, to inform and to prompt critical thinking. Use a list of key points, preferably grouped under headings (e.g. characterisation, action, staging, language etc.) and provide brief text references or quotations
 * 2) **Summarize** what Mother Courage is saying to the Cook in Scene 2 (Methuen p. 18) where she argues "That must be a rotten general" and talks about "men of courage" and other virtues.

2 Assignments for 'High' and Standard' students

1) MOTIFS in The Kite Runne r

Each English **'High'** student needs to go to the Discussion Forum and post a quotation from the first reference to their motif in the novel. Write the quotation into a sentence and add a comment on its significance, discussing it as we did in class. It's your responsibility to get 3 members of the **'Standard'** class to add another quotation and a comment on the development of the motif. You can help them find the quotations, but don't do all the work for them!

===** Go into "Discussion" at the top of the wikipage and post your 'message' (quotation and comment'). All students are encouraged to comment on what is posted. Everyone should have contributed by Friday 12th November. **===

__**Assignment for Friday 12th November (Standard and High)**__

2) Work on BRECHT and EPIC THEATRE

In order to better understand Brecht’s //Mother Courage and her Children//, it is essential to be familiar with **Epic Theatre**, a new style of theatre developed by Brecht.

Your copy of //Mother Courage// will almost certainly have notes by the Editor explaining the features of Epic Theatre. Read these carefully. You can also easily find Brecht’s list of Epic Theatre’s key features (in contrast to Dramatic Theatre), for example, on Durham University’s website: [] or at the University of Southern Queensland: http://www.usq.edu.au/artsworx/schoolresources/goodwomanofszechwan/dramaticvsepic or Stanford’s site for a general discussion: http://www.stanford.edu/dept/german/berlin_class/people/brecht4.html These sites are not too difficult to understand!


 * Study the nature of Epic Theatre so that you are familiar with its key features (alienation, gestus, anti-illusion techniques, the way actors and spectators are expected to behave, staging techniques etc.)**


 * Take your own notes in the way that suits you best and try to find examples in //Mother Courage// of at least 4 features of Epic Theatre. Bring these to class – printed out! Note that the Quiz on Friday, 12 November will also contain a couple of questions on Epic Theatre.**

German speakers! You may wish to read about Brecht and ‘Verfremdungseffekte’ in German. However, be sure you know the key terms in English…

Use the ‘sentence frames’ grid to help you talk about some examples of figurative language in the novel. The first one has been done as an example for you. **Complete the grid for the 3 quotations given and find 1 quotation of your own on which to comment**.
 * Assignment for November break**
 * 1) **Assignment on //The Kite Runner// below**
 * 2) **Read //Mother Courage and her Children//. It would also be advisable to read the editor's notes and commentary to help you understand the play. There will be a quiz on your return.**
 * Looking closely at Figurative Language in //The Kite Runner// **

Your aim is to show you understand the significance of the quotation. The ‘effects’ refer to the power of the words, how they contribute to the meanings of the story and our understanding of theme and character.

ALWAYS check the context to see where the quotation comes from, what was happening in the story…

Use whichever verb in the central column best enables you to talk about the quotation (//emphasises, illustrates, conveys, suggests... etc.// Use a thesaurus for more ideas!) (The page numbers may not fit your edition. You'll need to search...)


 * Quotation || Verb || Effects ||
 * ** “ ****I felt like a man who awakens in** his own house and finds all the furniture rearranged, so that every familiar nook and cranny looks foreign now.” ** Ch.18, 1st page ** || emphasises || (Context: Amir discovers Hassan is his brother) These words //emphasise// the terrible disarray Amir feels, the dislocation of his life, as he realises he has lived a lie. All he thought he knew, he did not know and has to learn again. His fear is palpable in this nightmare image… ||
 * “//I// was the snake in the grass, the monster in the lake.” Ch. 9 p.92 or p. 105 ||  ||   ||
 * “America was a river, roaring along, unmindful of the past. I could wade into this river, let my sins drown to the bottom…” Ch. 11 p119 or p.136 ||  ||   ||
 * "'That's the real Afghanistan, Agha Sahib. That's the Afghanistan I know. You? You've //always// been a tourist here, you just didn't know it.'"Ch.19 p204 ||  ||   ||
 * High Students only**


 * Please complete your work on motifs in //The Kite Runner//.**
 * Select as many quotations as necessary to do justice to the significance and, if necessary, the development of the motif.
 * Present your findings in a clearly structured way, but you may choose the format that suits you best.
 * Your audience/reader is the rest of the class

Madeleine: The American river Gemma: kites Beatrix: slingshot or story of Rostam and Sohrab Hanna: the bear Harry: the pomegranate tree Victor: Hosseini's use of italics Sylvia: Hosseini's use of Afghan terms

Be ready to present your considered opinions on the characters/relationships/roles as instructed on the worksheet. Remember you need to bring in a hard copy of your notes ready to be photocopied for the whole class and either send me an electronic copy or bring it in on a usb key for projection.
 * Assignment for Monday 18th Octobe**r
 * //The Kite Runner//**


 * __Please be responsible!__ Apparently in my absence some groups chose to do the same character assignments instead of sharing them out to cover all 8 assignments. Harriet + Saskia and Victor + Ben kindly agreed to change to 'Women' and 'Genral Taheri' respectively. Please talk amongst yourselves and ensure that 'Farid and Wahid' are also covered. We want to avoid more than one presentation on the same assignment.**

( Note that the comprehension exercise on //The Kite Runner// will be on Monday 11th October.)
 * Assignments for Thursday 7th and Friday 8th October**

· Check if you can improve your answers on the poem //Thistles// after our work on poetry in class on Monday · Read Plath’s poem //Mirror// in Perrine and answer the questions
 * Thursday**

·  · Graded exercise on an ‘unseen’ poem i.e. on a poem you have not already studied. You will be required to annotate the poem and then write a short essay
 * Friday**


 * Help yourself prepare for this by re-reading notes taken in class during poetry sessions and writing out the meaning of the words in the list that follows, preferably with examples. You can use the Glossary in Perrine or other reputable sources.


 * Some Basic Terms for Writing about Literature**

1. Diction 2. Figurative language 3. Metaphor 4. Simile 5. Metonymy 6. Personification 7. Alliteration 8. Assonance 9. Repetition 10. Lexical field 11. Onomatopoeia 12. Oxymoron 13. Caesura (poetry) 14. Run-on/Enjambement (poetry)


 * Assignment for Monday 4th October**
 * Complete the worksheet on the 2 poems - //Thistles// and //The Darkling Thrush//.
 * Remember that we will be studying //The Kite Runner// within the next week and that you should be re-reading or leafing through the novel to remind yourself of it. There will be a basic comprehension test for you to show what you already know when we start studying the novel in class. Plan for Friday 8th October.

__**Assignment for Thursday 30th September**__
 * Complete the worksheet started in class, identifying narrative points of view in Gordimer's //Once Upon a Time//
 * If you did not do the weekend homework, read and take notes on the Perrine explanation of Points of View (ch. 5 in the blue edition...)

__**Assignment for Thursday 23rd Septemb****er**__ Continue developing the chart on **Narrative Point of View**. Fill it in on two of the short stories. Remember to think carefullly about the last column, the **effects** of the examples or quotations you choose.


 * Assignment for Monday 20th September**

Read either //Paul's Case// (Cather) or //How I Met My Husband// (Munro). Be prepared to answer questions on Conflict and Characterisation in the 4 short stories studied.

Remember to use your class notes, the Perrine //Glossary of Terms// and the Notes to revise literary techniques concerning Conflict and Characterisation.

__**Assignment for Thurs. 16th September**__
 * Answer all the questions following the story //The Destructors// in the Perrine book. Be concise, but be sure to answer all parts of the questions and to number/letter the questions carefully.**

If you find any questions hard to understand (for example, if you don't know what a 'protagonist' or an 'antagonist' is), use the //Glossary of Terms// at the back of the book. These definitions in turn refer you to page numbers where the terms are further explained. It is important that you use Perrine's notes for understanding of key terms and concepts in literary criticism**.** __**Assignment for Mon. 13th September**__ Read Graham Greene's //The Destructors//.
 * Difficulties**

Read Hemingway's //The Short Happy Life of Francis Macomber// ready for questions and discussion in class//.//
 * __Assignment for Friday 10th Septembe__**r

__Summer vacation assignment 11th Grade going into 12th Grade__
 * __Assignment for Monday, 6th September__**
 * **Finish reading //The Most Dangerous Game.//**
 * **Read Ch. 1 //Reading the Story// in Perrine where the editor describes the difference between commercial fiction and literary fiction.**
 * **Take notes on the __main points__. Your notes should be structured using bullet points. Avoid writing paragraphs.**
 * **Before Monday, also remember to sign on to turnitin.**
 * PLEASE REMEMBER TO BRING YOUR COPIES OF THE PERRINE LITERATURE BOOKS TO SCHOOL ON MONDAY!

Please refer to the instructions in Summer Reading 12 under Navigation**I